It’s a well-known fact: everybody likes a good cry. But I think we can assume, based on the evidence of Table for Five, that Jon Voight likes a good cry more than the rest of us. In fact, this man loves a good cry, and he’ll open his ducts at the drop of a plot development. Voight gets through half of Table for Five in pretty good shape, but when the major plot bombshell falls—I’m not telling, but it’s a doozy—he starts doing some serious bawling in every other scene or so.
It gets to be too much, even if Voight is one of the best criers around. He’s playing a golf pro/divorced father who hopes to come back into the lives of his three children by taking them on a cruise to Egypt. Mom (Millie Perkins) gives her okay; her new man (Richard Crenna, in another slice-of-ham performance) is somewhat more skeptical. Voight’s character has a reputation as a loser, and the trip represents a last chance for his family and his self-respect. He quickly screws up, and is preparing to throw in the towel on the whole deal when circumstances force him to try again.
And that’s when Voight starts to get all trembly and quivery—he has to talk to his kids, but every time he tries to squeeze the words out, his face goes into contortions from the strain of holding back the tears, and he holds the words in after all. This goes on through the second half of the film, since the filmmakers—screenwriter David (Six Weeks) Seltzer and director Robert Lieberman—have decided it would be keen to put the audience through the emotional wringer every ten minutes; allowing Voight to be the weepy hesitator just increases the mileage they can get out of the eventual (and, in real-life terms, quite devastating) confrontation Voight must have with the children, and turns the movie into a tearjerking striptease.
The great cinematographer Vilmos Zsigmond captures some lovely light in the outdoor ocean liner scenes, and the scenery elsewhere is pretty, but…let’s hope he was paid well, enjoyed the traveling, and now wants to get back to work for Altman or Spielberg.
The title Table for Five, incidentally, refers to the dining arrangements that Voight reserves on the ocean liner for himself, his kids (played by three fairly excruciating child actors), and—someone else. The cute Frenchwoman that Voight hopes to get clubby with en voyage? The old widower who is conspicuously lonely? Or the audience itself—might the open chair be an invitation to cozy up to the principals? I doubt it. That would be assuming a level of complexity that the filmmakers don’t otherwise suggest. Either way, it’s an invitation that is awfully easy to resist.
First published in The Informer, March 1983
The “It’s a well-known fact” is, of course, from Gregory’s Girl. Other than that, not too many good memories of this wet movie, and I can’t remember whether Voight’s water works here pre-dates his reaction to the Laurence Olivier Oscar speech or merely repeats a tendency that proves all too facile for the actor’s toolkit.